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S11, 033-11, 1890s, Cabinet Card, Marie Burroughs (1866-1926) Am. Stage Actress S11, 033-11, 1890s, Cabinet Card, Marie Burroughs (1866-1926) Am. Stage Actress
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Description You are offerding on an original Antique 1890\'s Cabinet Card, Marie Burroughs (1866-1926) Stage Actress, about 25 years old.
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Family Tree (see last image).
More Info:
Marie Burroughs (born Lillie Arrington; 1866 – March 4, 1926) was an American stage actress in the late 19th century. She played prominent roles in many plays, although she never became a first-tier star.
Burroughs was born in San Jose, California in 1866, and raised in San Francisco. By age 17, her promise as an actor was noted by actor Lawrence Barrett, and earned her an invitation to appear in The Rajah at the Madison Square Theatre in New York.
She made her Broadway debut in 1884 and assumed her stage name. She was an immediate success, but her acting skills were still raw and it was said that her good looks carried her at first. Actor Louis Massen became her acting coach, and soon after her first husband.
She had roles in many plays through the 1880s and 1890s, including in a number of plays supporting English actor Edward Smith Willard. She retired from the stage in 1901.
As a celebrity of her day, Burroughs\' personal life drew public attention. Her first husband, Louis F. Massen, was also her acting instructor who she met in The Rajah; they divorced in 1895. In 1899, her engagement to Dr. Albert E. Sterne was announced, but their planned December 1899 was postponed due to illness on her part, and the engagement later ended. In 1901 she married Robert Barclay Macpherson, who died in 1907. In 1908, she married Francis M. Livingston.
Burroughs died in Santa Barbara, California, on March 4, 1926.
Selected appearances:
The Rajah as Gladys (1884)
Alpine Roses as Irma (1884)
Hazel Kirke
Esmeralda
After the Ball
Mrs. Winthrop
Called Back
Elaine (1887) as Queen Guinevere
Saints and Sinners
The Middleman as Mary Blenkarn
Judah as Vashti Dethic (supporting Edward Smith Willard)
Wealth as Edith Ruddock
John Needham\'s Double (1891) as Kate Norbury
The Professor\'s Love Story as Lucy
The Profligate
The Battle of the Strong (1900) as Guida Landresse (ref. Wikipedia)
Back is blank.
Photographer: William M. Morrison, Haymarket Theater, Chicago (1857-1921)
More Info:
William McKenzie Morrison was born in 1857 in Detroit, Michigan, but moved to Chicago at the beginning of the American Civil War. He began working in a photography studio at the age of ten. He attended the Metropolitan Business College in Chicago, graduating in 1879, and he used his education to manage a series of photography studios until 1889, when he opened his own studio, located in the Haymarket Theatre. In 1899, he moved his studio out of the theater building to its own location.
Card size: 4.25\" x 6.5\". #S11, 033-11
The Cabinet Card was a style of photograph which was widely used for photographic portraiture after 1870. It consisted of a thin photograph mounted on a card typically measuring 108 by 165 mm (4+1⁄4 by 6+1⁄2 inches).
The carte de visite was displaced by the larger cabinet card in the 1880s. In the early 1860s, both types of photographs were essentially the same in process and design. Both were most often albumen prints, the primary difference being the cabinet card was larger and usually included extensive logos and information on the reverse side of the card to advertise the photographer’s services. However, later into its popularity, other types of papers began to replace the albumen process. Despite the similarity, the cabinet card format was initially used for landscape views before it was adopted for portraiture.
Some cabinet card images from the 1890s have the appearance of a black-and-white photograph in contrast to the distinctive sepia toning notable in the albumen print process. These photographs have a neutral image tone and were most likely produced on a matte collodion, gelatin or gelatin bromide paper.
Sometimes images from this period can be identified by a greenish cast. Gelatin papers were introduced in the 1870s and started gaining acceptance in the 1880s and 1890s as the gelatin bromide papers became popular. Matte collodion was used in the same period. A true black-and-white image on a cabinet card is likely to have been produced in the 1890s or after 1900. The last cabinet cards were produced in the 1920s, even as late as 1924.
Owing to the larger image size, the cabinet card steadily increased in popularity during the second half of the 1860s and into the 1870s, replacing the carte de visite as the most popular form of portraiture. The cabinet card was large enough to be easily viewed from across the room when typically displayed on a cabinet, which is probably why they became known as such in the vernacular. However, when the renowned Civil War photographer Mathew Brady first started offering them to his clientele towards the end of 1865, he used the trademark \"Imperial Carte-de-Visite.\" Whatever the name, the popular print format joined the photograph album as a fixture in the late 19th-century Victorian parlor. (ref. Wikipedia)
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Card Cond: VG-VG/EX (Edge & corner wear), Please see scans for actual condition, (images 4 & 5 are for reference only).
This Cabinet Card would make a great addition to your collection or as a Gift (nice for Framing).
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